Zhizn za zhizn

Yevgeni Bauer's "Silent Witnesses" (or "Mute Witnesses") (1914) had at the center of its story a love circle, as does this film, "A Life for a Life". The two films also share the same aesthetic, as is visible in much of Bauer's work: that is, the art of mise-en-scène. Supposedly, Bauer was attempting here to make a film that would compete with foreign spectacles. Perhaps, that is why the sets and production values of this film are especially lavish. A fantasy scene resembles an Italian epic, such as "Quo Vadis?" or "Cabiria", and columns are visible throughout the mansion. The melodrama is sensational, and the suspense is befitting of D.W. Griffith. Nonetheless, the picture still mostly resembles Bauer's own oeuvre.

The story will do. The acting isn't that remarkable, although Vera Kholodnaya, apparently a star in her day, is lovely and has a fairly expressive face. Her major gift, however, is the white of her eyes, which the camera can record from quite a distance. The sets are more interesting, their design and the way they are filled to create depth and space. In one scene, a curtain is used to unveil the truth. Bauer used curtains in other films for various reasons, including to reference theatre. Lighting effects also add to the mise-en-scène.

The mise-en-scène is probably better than that in most of Bauer's other works, at least in the lushness of set design, but what makes the most difference as to whether the film works on a whole is what supports the mise-en-scène. And, this is where Bauer has failed before. I don't care much for filmed plays and that's what one could call "Silent Witnesses". By that, I mean a traditional story and plot filmed by a stationary camera from long shots in long takes. In "A Life for a Life", there is some camera movement (slow inward and outward dolly shots, such as in the double wedding scene), and Bauer's usual cinematographer, Boris Savelyev, deserves credit, but it's mostly through editing that Bauer keeps the film moving.

Some of it is simple (but very important), such as cuts from establishing shots to medium shots and closer looks. There's some mild crosscutting between the five characters. But, Bauer also displays an expert knowledge of continuity editing; for example, when Nata stands up, angry with the prince, the film cuts from the closer look to a long shot. This is common practice nowadays, but not always in 1916, such as in those Italian spectacles, or Pathé film d'art photoplays. Some of the cuts might be too quick, but that's a minor error.

Bauer's most impressive editing in his films is the flow of shots that he sometimes attains. There is a hint of it here, such as in the passionate meeting between Nata and the Prince when her husband catches them. The editing--the way the shots flow into the next--creates the mood. "A Life for a Life" isn't the best film by Bauer that I've seen (see "After Death" (1915) and "The Dying Swan" (1917)), but it's how a film should be at the most basic level, and from there, Bauer fills it with, among other things, interesting mise-en-scène.

The most remarkable aspect of many of Herr Evgenii Bauer's outstanding films is their modernism; that's the most representative characteristic of these early silent oeuvres wherein contemporary stories are developed with intensity and drama. After 100 years Herr Bauer's work is still refreshing and inventive which indicates how different his films are from the typical movies of his day which were often little more than filmed stage plays.

"Zhizn' Za Zhizn" ( A Life For A Life ) (1916) is the best proof of what this Herr Graf is referring to; that is to say, a splendid and modern early silent film wherein a complex plot is brilliantly developed.

The film tells the story of Frau Khromova ( Frau Olga Rakhmanova ), a wealthy woman who has two daughters, Frau Musia ( Frau Lidia Koreneva ) und Frau Nata ( Frau Vera Kholodnaia ); the latter one was adopted but equally loved by the millionaire widow. Pretty soon both girls will attract the attention of two different suitors, the Prince Bartinsky ( Herr Vitold Polonsky ) und Herr Zhurov ( Herr Ivan Perestiani ), the latter a wealthy fellow but the Prince, as usually happens in aristocratic circles, has plenty of noble titles but not a single ruble. Herr Zhurov suggests to the Prince that he should marry Frau Musia and in this way his financial problems will be solved; Herr Zhuriv will marry Frau Nata. The double wedding goes ahead as they agreed but the heart doesn't always follow clever plans so it is the Prince and Frau Nata who fall madly in love with each other, a situation that develops even before the wedding.

The problems caused by these adulterous relationships are brilliantly depicted by Herr Bauer with skillful editing and the advanced use of medium shots and close-ups.

As always happens in Herr Bauer's films, the art direction is particularly striking and the acting very powerful. The female characters, free and liberal, prove stronger than the male ones who ultimately suffer the terrible consequences.

And now, if you'll allow me, I must temporarily take my leave because this German Count must make up his aristocratic mind about true love or true economic interests.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com

With his usual keen eye for melodrama involving human relationships, Yevgeni Bauer takes a familiar setup and builds it into an effective drama that brings out many things about its characters. His approach is deceptively simple, making sparing use of camera motion, even by his standards, and allowing the characters and settings to drive the story.

The story involves the two daughters, one natural and one adopted, of wealthy Mrs. Khromova, and their ill-starred romances. The same kind of setup has been used for any number of forgettable movies, but Bauer always had good insight into the possibilities in this kind of story. Without making any overt judgments, he exposes the passions and weaknesses of each character. Things are built up slowly, allowing each choice that the characters make to sink in.

The settings for "A Life For a Life" are especially lavish. They often serve as background only, but after watching for a while, it suddenly dawns on you that this is a world of great luxury and wealth, yet those who live in this world are tormented and unhappy. And, though not part of the design, there's an added poignancy in knowing that this whole world of high society in Russia was soon to be swept away.

The popular Vera Kholodnaya was the star of the cast, and has some good moments. Olga Rakhmanova, though, probably gives the best overall performance as Mrs. Khromova, the only one of the characters who can see everything clearly, and yet even she finds herself at the mercy of her emotions. In general, the acting is understated, which tends to underline the fatalistic tone that characterizes many of Bauer's movies.

Bauer made a couple of other movies that were deeper and more compelling than this one is, but his approach here gets the most out of the material, and it makes for an effective and convincing drama.